In this article, the author examines some of the problems in the analysis of electroacoustic music. He argues that analytical models need to be more ‘open-ended', allowing for multiple interpretive viewpoints. He contextualises his discussion through the following methodologies: Denis Smalley's spectromorphology, François Delalande's listening behaviours and Stéphane Roy's implicative functional model. Finally, he proposes an analytical programme that acknowledges the web of temporal and interpretive levels inherent in a work of sonic art.